Copy and paste this worksheet as a separate page linked to the Homepage of your portfolio. DO NOT type your answers on THIS document because it needs to be used by other students. The title of your page which replies to these questions is linked to your portfolio and should begin with the first initials of your first and last name. (In my case, the link to this worksheet from my portfolio page would read frfires.)
You may earn a maximum of 3 points toward your final grade by doing the above and answering the questions and submitting them ontime (no later than Friday, October 6). Any worksheets submitted after the deadline will get a 0.
You will be rewarded a maximum of 3 points if I judge your work to be above average. You will receive 2 points if your work is average, that is it may have a few minor mistakes in some of the answers but demonstrates correct grammar and indicates that some, but not all, of the answers, are acceptable and well expressed. You will earn only 1 point if you simply answered the questions and/or if you use poor grammar and if there are signs that you have not read the material on which your answers are based.
Note: Like other plays we have dealt with, the construction of this play is unique and often challenging to readers. It generally works well on the stage but not so well in the study. So, the questions posed about the construction of the play do not easily follow Ball’s method of analysis. So, I have taken the liberty to change up some of the questions.
1. You may identify the stasis in the play but it isn’t necessarily at the beginning of the play. Where is it and who does it involve? NOTE: Do not assume that the stasis of the play is the same as the stasis of the video version that you are required to see. Only discuss the play in this and answers to the following questions.
In Fires in the Mirror the play is slightly harder to analyze due to its construction based on the performances of a series of monologues done by one solitary actor/actress. However, the stasis of the play can be identified as the series of monologues that are performed before Rabbi Joseph. All of the performances done before Rabbi Joseph simply set up the current racial and ethnic tensions between the African and Carribean American population and the Hassidic Jewish community in Crown Heights. These monologues act as the stasis because they do not include any dramatic action that helps to lead to the whole understanding of the show, in fact, they set the reader or theatre-goer up with a picture of the current tension in Crown Heights prior to the accident that will lead to the dramatic action of the play. The show takes place in Crown Heights, Brooklyn, New York during the year 1991 and the months prior to and following the death of Gavin Cato, a young black boy of Carribean descent, and Yankel Rosenbaum, a Hassidic Jew from Australia studying in New York on August 19. The characters of the play include prominent figures of the Black and Jewish community in Crown Heights and New York and include their commentary on the issues at hand.
2. Ball points out that the intrusion sometimes occurs late in the dramatic action. What is the intrusion that breaks the stasis in Fires in the MIrror and how is it broken?
The intrusion of Fires in the Mirror is the death of Gavin Cato. The death of Gavin Cato, a young black boy of Carribean descent. Cato's death causes riots and leads to the death of Yankel Rosenbaum which sparks, even more, the conflict between the Hasidic Jewish and Black communities in Crown Heights. This action plays the role of the play's intrusion because prior to this point, the only topics discussed in the play were the relationships between the Jews and the Blacks but after the event of the death of Gavin Cato is introduced by Rabbi Joseph, the play takes a turn and the dramatic action begins. The Crown Heights Incident is the focal point of the show so the introduction of the conflict acts as the play's intrusion.
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor that is out of the ordinary that causes a turn of events to take place? Hint: the unique factor may have something to do with you? How does the title figure in your answer?
This is the day that Gavin Cato was killed by a car driven by a Hassidic Jew and in retaliation, Yankel Rosenbaum was stabbed to death by a group of Black men. The actions of the play are all centered around this singular event which is known as the Crow Heights Incident. It is important to note that all of the monologues in the play, whether they deal directly with the incident and the deaths of Cato and Rosenbaum, they are all related to the racial and ethnic tension between the Hassidic Jews and the Black community in Crown Heights. These relationships, tensions, and conflicts serve as the primary plot of the show.
4. State the dramatic questions that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
There are multiple dramatic questions that are posed by the play, each of which is explored in great detail. The main dramatic questions would be, was justice served in the death of Gavin Cato? And was justice served in the death of Yankel Rosenbaum? Through the plays inventive use of monologues and scenes from various characters in both the Black and Jewish community, the question is explored using the two opposing sides opinions and views. Due to this, we are able to see how the Jewish community and Black communities both blame either side for the riots and violence that ensued after the death of Cato. It is interesting to note that the final monologue done by Cato's father causes insinuates in a way that the justice for the death of his son has yet to be served> However, the final monologue of the Jewish character also insinuates that justice was never served for the death of Yankel Rosenbaum and that the death was unnecessary violence against an accident. The author does a remarkable job of staying unbias and leaving the decision up to the audience.
5. Use the narrator of the work to answer the questions concerning character. Ball says, a character is revealed by what he/she does, ie. The dramatic actions that are taken. Examine what these particular characters wants. The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles facing the narrator.
The obvious conflict in Fires in the Mirror is the conflict between the Black and Jewish community in Crown Heights. This conflict is illustrated through the animosity between the two groups and the individuals through their monologues and individual scenes throughout the show. Both of the communities feel as though they have been wronged by the other because of the actions of the Crown Heights Incident and both sides are unlikely to compromise or offer condolences to the other. Many members of the Black community feel as though the Jewish community is running the show and allowing all sorts crimes to go unnoticed and unpunished. Meanwhile, the Jewish community feels that the actions of the Black community are done out of spite are ridiculously unnecessary. While both sides want to achieve this peace and solidarity, the fight seems unrelenting and the continued racial and ethnic tensions seem to remain constant throughout the decade as both sides are unable to affectively advocate for change.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Fires in the Mirror.
The most theatrical moment of the show is hands down the final monologue with the father of Gavin Cato. This scene is the most emotional and theatrical scene of the show as illustrated by the lighting and the scenic design. The language of the scene is direct quotations from an interview conducted by the playwright with the father of Cato. This diction and true, raw emotion of the scene illustrates the intensity of the moment and the feelings of Cato's Father and his animosity towards the Jewish community. The lighting also adds to the theatricality of the scene by creating a dark and ominous tone showing the dark light that hangs over Cato's father now that his son has died. The addition of the candles and the cross help add a sort of sad and tragic undertone. The music underlying the scene also adds a sort of sad and tragic tone as well.
Copy and paste this worksheet as a separate page linked to the Homepage of your portfolio. DO NOT type your answers on THIS document because it needs to be used by other students. The title of your page which replies to these questions is linked to your portfolio and should begin with the first initials of your first and last name. (In my case, the link to this worksheet from my portfolio page would read frfires.)
You may earn a maximum of 3 points toward your final grade by doing the above and answering the questions and submitting them ontime (no later than Friday, October 6). Any worksheets submitted after the deadline will get a 0.
You will be rewarded a maximum of 3 points if I judge your work to be above average. You will receive 2 points if your work is average, that is it may have a few minor mistakes in some of the answers but demonstrates correct grammar and indicates that some, but not all, of the answers, are acceptable and well expressed. You will earn only 1 point if you simply answered the questions and/or if you use poor grammar and if there are signs that you have not read the material on which your answers are based.
Note: Like other plays we have dealt with, the construction of this play is unique and often challenging to readers. It generally works well on the stage but not so well in the study. So, the questions posed about the construction of the play do not easily follow Ball’s method of analysis. So, I have taken the liberty to change up some of the questions.
1. You may identify the stasis in the play but it isn’t necessarily at the beginning of the play. Where is it and who does it involve? NOTE: Do not assume that the stasis of the play is the same as the stasis of the video version that you are required to see. Only discuss the play in this and answers to the following questions.
In Fires in the Mirror the play is slightly harder to analyze due to its construction based on the performances of a series of monologues done by one solitary actor/actress. However, the stasis of the play can be identified as the series of monologues that are performed before Rabbi Joseph. All of the performances done before Rabbi Joseph simply set up the current racial and ethnic tensions between the African and Carribean American population and the Hassidic Jewish community in Crown Heights. These monologues act as the stasis because they do not include any dramatic action that helps to lead to the whole understanding of the show, in fact, they set the reader or theatre-goer up with a picture of the current tension in Crown Heights prior to the accident that will lead to the dramatic action of the play. The show takes place in Crown Heights, Brooklyn, New York during the year 1991 and the months prior to and following the death of Gavin Cato, a young black boy of Carribean descent, and Yankel Rosenbaum, a Hassidic Jew from Australia studying in New York on August 19. The characters of the play include prominent figures of the Black and Jewish community in Crown Heights and New York and include their commentary on the issues at hand.
2. Ball points out that the intrusion sometimes occurs late in the dramatic action. What is the intrusion that breaks the stasis in Fires in the MIrror and how is it broken?
The intrusion of Fires in the Mirror is the death of Gavin Cato. The death of Gavin Cato, a young black boy of Carribean descent. Cato's death causes riots and leads to the death of Yankel Rosenbaum which sparks, even more, the conflict between the Hasidic Jewish and Black communities in Crown Heights. This action plays the role of the play's intrusion because prior to this point, the only topics discussed in the play were the relationships between the Jews and the Blacks but after the event of the death of Gavin Cato is introduced by Rabbi Joseph, the play takes a turn and the dramatic action begins. The Crown Heights Incident is the focal point of the show so the introduction of the conflict acts as the play's intrusion.
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor that is out of the ordinary that causes a turn of events to take place? Hint: the unique factor may have something to do with you? How does the title figure in your answer?
This is the day that Gavin Cato was killed by a car driven by a Hassidic Jew and in retaliation, Yankel Rosenbaum was stabbed to death by a group of Black men. The actions of the play are all centered around this singular event which is known as the Crow Heights Incident. It is important to note that all of the monologues in the play, whether they deal directly with the incident and the deaths of Cato and Rosenbaum, they are all related to the racial and ethnic tension between the Hassidic Jews and the Black community in Crown Heights. These relationships, tensions, and conflicts serve as the primary plot of the show.
4. State the dramatic questions that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
There are multiple dramatic questions that are posed by the play, each of which is explored in great detail. The main dramatic questions would be, was justice served in the death of Gavin Cato? And was justice served in the death of Yankel Rosenbaum? Through the plays inventive use of monologues and scenes from various characters in both the Black and Jewish community, the question is explored using the two opposing sides opinions and views. Due to this, we are able to see how the Jewish community and Black communities both blame either side for the riots and violence that ensued after the death of Cato. It is interesting to note that the final monologue done by Cato's father causes insinuates in a way that the justice for the death of his son has yet to be served> However, the final monologue of the Jewish character also insinuates that justice was never served for the death of Yankel Rosenbaum and that the death was unnecessary violence against an accident. The author does a remarkable job of staying unbias and leaving the decision up to the audience.
5. Use the narrator of the work to answer the questions concerning character. Ball says, a character is revealed by what he/she does, ie. The dramatic actions that are taken. Examine what these particular characters wants. The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles facing the narrator.
The obvious conflict in Fires in the Mirror is the conflict between the Black and Jewish community in Crown Heights. This conflict is illustrated through the animosity between the two groups and the individuals through their monologues and individual scenes throughout the show. Both of the communities feel as though they have been wronged by the other because of the actions of the Crown Heights Incident and both sides are unlikely to compromise or offer condolences to the other. Many members of the Black community feel as though the Jewish community is running the show and allowing all sorts crimes to go unnoticed and unpunished. Meanwhile, the Jewish community feels that the actions of the Black community are done out of spite are ridiculously unnecessary. While both sides want to achieve this peace and solidarity, the fight seems unrelenting and the continued racial and ethnic tensions seem to remain constant throughout the decade as both sides are unable to affectively advocate for change.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Fires in the Mirror.
The most theatrical moment of the show is hands down the final monologue with the father of Gavin Cato. This scene is the most emotional and theatrical scene of the show as illustrated by the lighting and the scenic design. The language of the scene is direct quotations from an interview conducted by the playwright with the father of Cato. This diction and true, raw emotion of the scene illustrates the intensity of the moment and the feelings of Cato's Father and his animosity towards the Jewish community. The lighting also adds to the theatricality of the scene by creating a dark and ominous tone showing the dark light that hangs over Cato's father now that his son has died. The addition of the candles and the cross help add a sort of sad and tragic undertone. The music underlying the scene also adds a sort of sad and tragic tone as well.